in ancient egyptian art, the pharaoh was almost always depicted in this way:
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In the Deir el-Medina texts, there are references to ‘wise women’ and the role they played in predicting future events and their causation. It has been suggested that such seers may have been a regular aspect of practical religion in the New Kingdom and possibly even earlier. (281)
In ancient Egypt a woman enjoyed the same rights under the law as a man. What her de jure [rightful entitlement] rights were depended upon her social class not her sex. All landed property descended in the female line, from mother to daughter, on the assumption, perhaps, that maternity is a matter of fact, paternity a matter of opinion. A woman was entitled to administer her own property and dispose of it as she wished. She could buy, sell, be a partner in legal contracts, be executor in wills and witness to legal documents, bring an action at court, and adopt children in her own name. An ancient Egyptian woman was legally capax [competent, capable]. In contrast, an ancient Greek woman was supervised by a kyrios [male guardian] and many Greek women who lived in Egypt during the Ptolemaic Period, observing Egyptian women acting without kyrioi, were encouraged to do so themselves. In short, an ancient Egyptian woman enjoyed greater social standing than many women of other societies, both ancient and modern. (16)
Modern and contemporary Egyptian art can be as diverse as any works in the world art scene. Some well-known names include Mahmoud Mokhtar, Abdel Hadi Al Gazzar, Farouk Hosny, Gazbia Sirry, Kamal Amin, Hussein El Gebaly, Sawsan Amer and many others. Many artists in Egypt have taken on modern media such as digital art and this has been the theme of many exhibitions in Cairo in recent times. There has also been a tendency to use the World Wide Web as an alternative outlet for artists and there is a strong Art-focused internet community on groups that have found origin in Egypt.
Ahmed Zewail (Arabic: أحمد زويل ) (born February 26, 1946) is an Egyptian chemist, and the winner of the 1999 Nobel Prize in Chemistry for his work on femtochemistry. Born in Damanhur (60 km south-east of Alexandria) and raised in Disuq, he moved to the United States to complete his PhD at the University of Pennsylvania. He was awarded a faculty appointment at Caltech in 1976, where he has remained since.
Ancient Egyptian art forms are characterized by regularity and detailed depiction of human beings and the nature, and, were intended to provide company to the deceased in the ‘other world’. Artists’ endeavored to preserve everything of the present time as clearly and permanently as possible. Completeness took precedence over prettiness. Some art forms present an extraordinarily vivid representation of the time and the life, as the ancient Egyptian life was lived thousand of years before.
Tomb Paintings show activities that the deceased were involved
in when they were alive and wished to carry on doing for eternity.
Where there is an intense involvement with Egyptian art, there is likely to be a search for something basic or elemental. For example, in the midst of this decade’s tireless and tiresome attack on the notion of originality, certain artists find in Egypt some viable sense of origins. For Brandt, Egypt is the birthplace of style. For Nancy Graves, whose recent paintings include images of pharaohs, time calendars and snakes, Egypt and the ancient Near East remain very much the cradle of civilization. Graves is not the only contemporary artist – Anthony Caro and Rockburne are others – whose recent work has included references to both ancient Egypt and ancient Greece.
Where there is sensitivity to Egyptian art, there is almost always a reaction against the velocity of the art world. Jackie Winsor’s recent show at the Paula Cooper Gallery included a small free-standing step pyramid and wall pieces offering passageways not only into the work but also into the wall. ”In these works there is nothing to look at, no place to go, just to resonate within it,” Winsor said. ”This kind of idea is experienced most in the East.” The attitude of Western artists toward Egyptian art continues to evolve. In the way artists discuss Egyptian art, there are signs of the times. For example, a buzzword of the 1960’s, ”form,” may now be replaced by the buzzword of the 80’s, ”context.”